Everybody Digs Bill Evans

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Everybody Digs Bill Evans
Studio album by Bill Evans

Publication
(s)

1959

Label (s) Riverside Records

Format (s)

LP, CD

Title (number)

11

occupation

production

Orrin Keepnews

Studio (s)

Reeves Sound Studios / New York

chronology
New Jazz Conceptions
1956 		Everybody Digs Bill Evans Portrait in Jazz
1959

Everybody Digs Bill Evans is a jazz - album of Bill Evans , which opened on 15 December 1958 and by the following year at Riverside Records was released.

The album

Everybody Digs Bill Evans was the pianist's second album under his own name after his debut with New Jazz Conceptions in 1956. In 1958 Evans worked with trumpeter Miles Davis ( Milestones ); the two musicians moved “in this phase of their development parallel to each other”, wrote the Evans biographer Hans E. Petrik, “and then almost a year should pass before Davis then accomplished the perfect fusion of his specific abilities with those of Evans . This happened in the spring of 1959 when Kind of Blue was created ”. In October 1958, the collaboration between Evans and Davis ended; the sensitive pianist had no longer withstood the tension in the Davis band with Coltrane and Adderley . He still worked on Art Farmer's album Farmer's Market and then disappeared to Florida , where his parents had a house, played golf, practiced the piano and otherwise took a break. In November 1958 he returned to New York, where he initially worked with George Russell's Jazz Workshop . Shortly thereafter, Orrin Keepnews , the producer of the small jazz label Riverside Records , brought him into the studio; Evans' debut album New Jazz Conceptions had already been recorded on Riverside 27 months earlier . With the bassist Sam Jones , whom Evans knew from the Adderley band, and with the drummer Philly Joe Jones , a colleague from the Miles Davis band, another trio album was to be created. The result was particularly impressive because of some slow pieces such as Evans' own composition "Peace Piece", which he interpreted in his unmistakable way; a development that culminated in the trio's recordings with Scott LaFaro and Paul Motian from December 1959 in albums such as Portrait in Jazz , Explorations and finally in the Village Vanguard concert on June 25, 1961 .

Impact history

Everybody Digs Bill Evans is now one of the classic albums of the Riverside label, such as Brilliant Corners by Thelonious Monk , The Incredible Jazz Guitar by Wes Montgomery or Kelly Blue by Wynton Kelly . Richard Cook and Brian Morton award the album with the highest rating of four stars in their Penguin Guide to Jazz . The All Music Guide rated it 4 (out of 5) stars.

The titles

  • Bill Evans - Everybody Digs Bill Evans (Riverside RLP 12-291)
  1. Minority ( Gigi Gryce ) - 5:21
  2. Young and Foolish (Hague / Horwitt) - 5:53
  3. Lucky to Be Me ( Betty Comden / Adolph Green ) - 3:39
  4. Night and Day ( Cole Porter ) - 7:34
  5. Epilogue (Evans) - 0:39
  6. Tenderly ( Walter Gross ) - 3:32
  7. Peace Piece (Evans) - 6:42
  8. What is there to say? ( EY Harburg / Vernon Duke ) - 4:53
  9. Oleo ( Sonny Rollins ) - 4:07
  10. Epilogue - 0:41 (Evans)

The bonus track "Some Other Time" was already added to a limited edition CD release by JVC JVCXR-0020-2, 1981. The track was recorded like the other tracks on the album on December 15, 1958.

literature

Web links

Remarks

  1. ↑ The album Tenderly with vibraphonist Don Elliott , created in 1956/57, was only released in 2001 by Milestone MCD 9317.
  2. ↑ cf. Petrik, p. 24.
  3. ↑ Evans worked on Russell's album New York NY ; see. Petrik, p. 99.
  4. ↑ Actually the producer wanted to win him over for this recording session earlier, but the highly self-critical Evans felt at the time that he had "nothing new to say". Quoted from Keepnews.
  5. ↑ The album originally contained three compositions by Evans; the fourth, "Some Other Time" was only released as a bonus track on CD.
  6. ↑ cf. Petrik.